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- Good evening.

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My name is Teresa Schroepfer,

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and I'm a retired choir director

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from Ashwaubenon High School 
in Green Bay.

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As chair of the Wisconsin 
School Music Association

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High School State Honors 
Music Project,

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it is my honor 
to welcome you

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to this first-ever 
virtual performance

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of the 52nd WSMA High School 
State Honors Ensembles.

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Tonight, we will feature 
all five

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High School State Honors 
Ensembles

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in virtual performance.

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Each group will present 
a select piece or pieces

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from their programmed 
honors repertoire.

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The recordings 
of the virtual performances

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and tonight's compilation video 
will be posted on both the WSMA

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and PBS Wisconsin websites 
next week.

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And now, it is my pleasure 
to introduce Laurie Fellenz,

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executive director of WSMA

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to welcome you on behalf 
of the association.

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- Good evening.

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My name is Laurie Fellenz, 
and as the executive director

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of the Wisconsin School Music 
Association

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and Wisconsin Foundation 
for School Music,

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I'd like to welcome you to the 
first-ever virtual performance

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of the 52nd WSMA High School 
State Honors Ensembles.

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The year 2020 
has been like no other

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in the history 
of our association, our state,

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our country, or our world.

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Since March, we've experienced 
rapid changes

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in Wisconsin's 
educational landscape

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and in our service 
to schools and students.

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We've also worked hard 
to adjust to these changes

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through responsive action.

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Ever since the beginning 
of the pandemic,

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our beacon 
has been our youth.

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Although where 
they experience learning

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may currently look 
vastly different than usual,

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the fundamental need 
for a quality music education

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as part of a well-rounded school 
experience has never changed.

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WSMA has found a way 
through this all

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to still offer a virtual solo 
festival in spring 2020

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that included support 
for students

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who had not yet completed their 
own district festival experience

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and a state solo festival,

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which collectively served 
over 5,000 students.

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As we considered the scenarios

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for the WSMA High School 
State Honors Music Project,

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canceling was not an option.

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Rather, we've continually asked 
the question,

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"What is still possible 
and what would be of value

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for our students?"

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As you will see tonight,

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the High School State Honors 
Project team,

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led by Victoria Donahue, 
WSMA Program Director,

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Teresa Schroepfer, High School 
Honors Project Chair,

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their incredible 
administrative team,

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and our exceptional 
honors coaches and conductors.

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There was so much 
that was still possible,

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and there were new experiences 
unique to this year's format

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that provided students 
with a rich opportunity

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to learn, connect, and achieve.

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Their creativity and focus 
was unparalleled,

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and on behalf of myself 
and our board of directors,

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I extend the deepest gratitude 
to the entire staff

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of the High School State Honors 
Music Project.

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There's another group of people 
I'd also like to thank,

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and that's our WSMA staff,

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who've worked tirelessly 
since March

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to ensure our programs 
are still viable.

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We've had to invent new systems 
and structures

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to support these programs 
as well as others,

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and their dedication to the work 
of WSMA has been monumental.

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Finally, I'd like to share 
with you a message

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about the unsung heroes 
connected to our association.

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The Wisconsin Foundation 
for School Music, its donors,

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and their work on the WSMA State 
Honors Music Project endowment.

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This endowment has helped keep 
tuition as low as possible

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despite rising costs to WSMA.

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Thank you to all the donors

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who've contributed 
toward the Honors endowment

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and helped sustain 
and perpetuate

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the State Honors Music Project.

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Tonight, we invite everyone who 
is able to consider a donation

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to the endowment.

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For more information 
on this effort,

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please visit your program.

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Thank you for joining us for 
this unprecedented event

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and enjoy the performances.

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- Thank you, Laurie.

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The purpose of the High School 
State Honors Music Project

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is to acknowledge 
and bring together

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some of Wisconsin's finest 
high school musicians

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for an incredible musical 
experience

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working with accomplished peers, 
outstanding coaches,

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and distinguished conductors.

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For more information, please 
refer to the digital program.

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A link is provided in the 
comment section of this video

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and on our website.

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The High School State Honors 
virtual camps this past summer

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were certainly unique, 
and we believe successful

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due to advanced planning, 
a high degree of cooperation,

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and a coordinated effort by all.

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This evening, you will hear the 
results of the effort put forth

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by the students, coaches, 
and conductors.

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However, we all know that there 
are many more stakeholders

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in this project.

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First, we would like to thank 
the parents and guardians

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of the Honors Ensemble members

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for supporting their children in 
all of their musical endeavors

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and for supporting 
the music program

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in their school district.

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Due to the pandemic this year,

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this support has required an 
especially heroic effort

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on the part of families 
that has not gone unnoted.

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This concert is your 
accomplishment as well.

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Please accept our 
acknowledgement.

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We would also like 
to acknowledge

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the past and present 
music teachers

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of our State Honors students.

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Thank you for your inspiration, 
patience, guidance,

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and expertise in molding these 
fine student musicians,

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even under extraordinary 
circumstances.

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This concert is your 
accomplishment as well.

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The performances you are about 
to experience

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are the product of three years 
and hundreds of hours of work.

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The driving force 
behind this project

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is the administrative team.

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This team is responsible 
for the organizational work

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behind all five High School 
State Honors ensembles.

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Joining me on the administrative 
team are the chair-elect

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of the Honors Project, 
Sarah Hafenstein,

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orchestra director 
at Watertown High School.

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Operations Director 
Tim Kozlovsky,

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band director at Pulaski 
Community Middle School.

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And head of the administrative 
team, Victoria Donahue,

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WSMA Program Director

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and High School Honors Music 
Project Coordinator.

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The ensemble coordinators, 
section coaches,

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and accompanists have played 
a vital role

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in the success of tonight's 
virtual concert.

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These 29 music educators 
were selected

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for the State Honors 
Music Project

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based on their reputation for 
excellence in music education.

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They generously volunteer their 
time and talents

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to this project so that 
these young musicians

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will have the best experience 
possible.

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A listing of Honors staff

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can be found in the program 
on page 34.

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We thank and commend them 
for their flexibility,

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creativity, and determination.

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Finally, it is my distinct 
privilege to introduce

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the 2020 WSMA High School State 
Honors conductors

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for tonight's program.

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In performance order, they are: 
Thomas Dickey, Axel Theimer,

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Michael Dease, 
Lauren Fowler-Calisto,

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and Pamela Bustos.

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To learn more about the 2020 
State Honors conductors,

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please refer to pages 6 and 7 
in the program.

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And now, the premiere 
of the 2020

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State High School Honors Music 
Project virtual performances.

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- Thomas Dickey: So Emma Lou 
Diemer's "Festival Overture"

163
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was actually written 
nearly 60 years ago

164
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for an all-state orchestra, 
essentially, in Virginia.

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And it was really quite popular, 
well-received at the time,

166
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but then it really quickly 
fell out of favor

167
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amongst in orchestras, 
and consequently,

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it was never recorded.

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And so this is essentially 
the first recording project

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of Emma Lou Diemer's 
"Festival Overture."

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She's a living woman composer.

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This piece was written 
60 years ago.

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And we are giving 
the first recorded performance.

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["Festival Overture" 
by Emma Lou Diemer]

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[sprightly string 
and woodwind music]

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♪♪♪

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["Festival Overture" 
by Emma Lou Diemer]

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♪♪♪

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[gentle flute solo]

180
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♪♪♪

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00:14:59,666 --> 00:15:02,733
["Festival Overture" 
by Emma Lou Diemer]

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♪♪♪

183
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[rousing ending]

184
00:17:07,733 --> 00:17:09,966
- Axel Theimer: Well, if you 
would have had the opportunity

185
00:17:10,066 --> 00:17:16,233
to be part of the Zoom meetings 
that we had with the composers,

186
00:17:16,333 --> 00:17:18,466
it was phenomenal

187
00:17:18,566 --> 00:17:21,133
the way they acted and reacted

188
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with the students, and also 
the engagement of the students

189
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with their own questions 
and their own comments,

190
00:17:30,666 --> 00:17:34,000
especially the opportunity 
with Jim Papoulis,

191
00:17:34,100 --> 00:17:38,800
who engaged all of us in writing 
a composition together.

192
00:17:38,900 --> 00:17:42,966
And asking them about their 
feelings, about their ideas

193
00:17:43,066 --> 00:17:47,200
about the key, about the mood 
and so on, I think,

194
00:17:49,233 --> 00:17:51,800
and as different as the 
three composers were,

195
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it was also amazing to see 
their similarities,

196
00:17:54,733 --> 00:17:57,066
how they approach composing,

197
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and how they are affected 
by the text

198
00:18:02,633 --> 00:18:04,700
and by their own 
emotional response

199
00:18:04,800 --> 00:18:06,333
to the meaning of the words.

200
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["Justice" by WSMA High School 
State Honors Treble Choir 
with Jim Papoulis]

201
00:18:16,933 --> 00:18:19,466
[dramatic piano music]

202
00:18:21,700 --> 00:18:24,233
♪ History is calling us ♪

203
00:18:24,333 --> 00:18:26,900
♪ Loneliness is finding us ♪

204
00:18:27,000 --> 00:18:28,866
♪ I will not be silent ♪

205
00:18:28,966 --> 00:18:32,333
♪ As we hear the cries ♪

206
00:18:32,433 --> 00:18:35,233
♪ When I hear hands up ♪

207
00:18:35,333 --> 00:18:40,266
♪ When I hear I can't breathe ♪

208
00:18:40,366 --> 00:18:43,300
♪ I will not be silent anymore ♪

209
00:18:43,400 --> 00:18:45,933
♪ I will rise, I will stand ♪

210
00:18:46,033 --> 00:18:52,800
♪ I will lift my voice ♪

211
00:18:52,900 --> 00:18:56,100
♪ For justice is calling me ♪

212
00:18:56,200 --> 00:19:01,500
♪ Freedom will lead us 
to unity ♪

213
00:19:01,600 --> 00:19:04,200
♪ We won't stop 
'til we all find ♪

214
00:19:04,300 --> 00:19:06,900
♪ Justice is calling me ♪

215
00:19:07,000 --> 00:19:12,233
♪ Freedom will lead us 
to unity ♪

216
00:19:12,333 --> 00:19:18,300
♪ We won't stop 
'til we all find justice ♪

217
00:19:24,800 --> 00:19:27,500
["I Arise Today" 
by Matthew Emery]

218
00:19:29,300 --> 00:19:32,066
[gentle piano music]

219
00:19:43,400 --> 00:19:48,366
♪ I arise today ♪

220
00:19:48,466 --> 00:19:51,766
♪ Through the strength 
of heaven ♪

221
00:19:51,866 --> 00:19:58,366
♪ The light of the sun ♪

222
00:19:58,466 --> 00:20:06,400
♪ The radiance of the moon ♪

223
00:20:08,400 --> 00:20:12,266
[violin solo]

224
00:20:16,300 --> 00:20:19,333
♪ The splendor of fire ♪

225
00:20:19,433 --> 00:20:24,100
♪ The speed of lightning ♪

226
00:20:24,200 --> 00:20:31,766
♪ The swiftness of the wind ♪

227
00:20:34,100 --> 00:20:37,666
[gentle violin and piano music]

228
00:20:46,700 --> 00:20:50,000
♪ I arise today ♪ 
♪ I arise today ♪

229
00:20:50,100 --> 00:20:52,200
♪ I arise today ♪ 
♪ I arise today ♪

230
00:20:52,300 --> 00:20:55,233
♪ Through the strength 
of heaven 
(I arise today) ♪

231
00:20:55,333 --> 00:21:01,200
♪ The light of the sun 
(I arise today) ♪

232
00:21:02,200 --> 00:21:09,866
♪ The radiance of the moon ♪

233
00:21:11,233 --> 00:21:15,700
[gentle violin and piano music]

234
00:21:19,966 --> 00:21:24,966
♪ I arise today ♪

235
00:21:25,066 --> 00:21:28,566
♪ The depth of the sea ♪

236
00:21:28,666 --> 00:21:33,466
♪ The stability of the earth ♪

237
00:21:33,566 --> 00:21:41,200
♪ The firmness of the rock ♪

238
00:21:43,633 --> 00:21:51,900
♪ I arise today ♪

239
00:21:52,000 --> 00:21:55,400
♪ I arise today ♪ 
♪ I arise today ♪

240
00:21:55,500 --> 00:21:57,500
♪ I arise today ♪ 
♪ I arise today ♪

241
00:21:57,600 --> 00:22:01,000
♪ Through the strength 
of heaven 
(I arise today) ♪

242
00:22:01,100 --> 00:22:06,133
♪ The light of the sun 
(I arise today) ♪

243
00:22:07,300 --> 00:22:13,766
♪ The radiance of the moon 
(The radiance) ♪

244
00:22:14,766 --> 00:22:19,266
♪ (I arise) 
Through the strength of heaven ♪

245
00:22:19,366 --> 00:22:22,633
♪ I arise today 
(The light of the sun) ♪

246
00:22:22,733 --> 00:22:29,633
♪ I arise today 
(The splendor of fire) ♪

247
00:22:29,733 --> 00:22:39,633
♪ The speed of lightning 
(The light of the sun) ♪

248
00:22:39,733 --> 00:22:48,900
♪ The radiance of the moon ♪

249
00:22:50,466 --> 00:22:53,700
♪ I arise today ♪

250
00:22:53,800 --> 00:22:57,200
♪ I arise today ♪

251
00:22:57,300 --> 00:23:00,533
♪ I arise today ♪

252
00:23:00,633 --> 00:23:12,033
♪ I arise today 
(I arise) ♪

253
00:23:17,900 --> 00:23:31,900
♪ Today ♪

254
00:23:50,633 --> 00:23:57,133
♪ In every heart 
there is a place ♪

255
00:23:57,233 --> 00:24:04,100
♪ A place that shows us 
who we are ♪

256
00:24:04,200 --> 00:24:09,533
♪ In every heart 
there is a place ♪

257
00:24:09,633 --> 00:24:15,266
♪ That finally I can see ♪

258
00:24:18,266 --> 00:24:24,366
♪ In every heart 
there is a place ♪

259
00:24:24,466 --> 00:24:30,533
♪ A place that shows us 
who we are ♪

260
00:24:30,633 --> 00:24:35,833
♪ In every heart 
there is a place ♪

261
00:24:35,933 --> 00:24:42,066
♪ That finally I can see ♪

262
00:24:42,166 --> 00:24:45,733
♪ If I hear my heart ♪

263
00:24:45,833 --> 00:24:48,400
♪ I will know it's true ♪

264
00:24:48,500 --> 00:24:55,033
♪ If I listen when it calls ♪

265
00:24:57,166 --> 00:25:02,800
♪ In every heart 
there is a place ♪

266
00:25:02,900 --> 00:25:10,133
♪ That finally I can see ♪

267
00:25:10,233 --> 00:25:13,366
♪ Look around and you 
will see it ♪

268
00:25:13,466 --> 00:25:15,966
♪ You will see that you will 
find it ♪

269
00:25:16,066 --> 00:25:22,266
♪ (Look around) 
The time has come 
for you to see ♪

270
00:25:22,366 --> 00:25:26,800
♪ We are the voices 
and we will be heard ♪

271
00:25:26,900 --> 00:25:31,433
♪ Finding a voice that 
will free us ♪

272
00:25:31,533 --> 00:25:35,333
♪ We are the voices 
and we will be heard ♪

273
00:25:35,433 --> 00:25:39,933
♪ As we finally see ♪

274
00:25:40,033 --> 00:25:48,000
♪ Who we are 
(Who we are) 
(Who we are) ♪

275
00:25:49,400 --> 00:25:57,766
♪ Only what we feel ♪

276
00:25:57,866 --> 00:26:02,666
♪ What we feel ♪

277
00:26:02,766 --> 00:26:05,800
♪ There is only one way 
we can be ♪

278
00:26:05,900 --> 00:26:08,033
♪ And that is standing up ♪

279
00:26:08,133 --> 00:26:11,233
♪ For who we are inside ♪

280
00:26:11,333 --> 00:26:14,700
♪ We stand up tall ♪

281
00:26:14,800 --> 00:26:19,766
♪ So we can feel the unity 
of who we are inside 
(Of who we are inside) ♪

282
00:26:19,866 --> 00:26:22,066
♪ We stand up tall ♪

283
00:26:22,166 --> 00:26:28,133
♪ So we can feel the unity 
of who we are inside 
(Of who we are inside) ♪

284
00:26:28,233 --> 00:26:31,300
♪ There is only one way 
we can be ♪

285
00:26:31,400 --> 00:26:36,666
♪ And that is standing up 
for who we are inside ♪

286
00:26:36,766 --> 00:26:38,766
♪ I know who I am ♪

287
00:26:38,866 --> 00:26:41,433
♪ I am breathing 
the fire of my soul 
(Who we are) ♪

288
00:26:41,533 --> 00:26:44,900
♪ I am breathing 
who I am inside ♪

289
00:26:45,000 --> 00:26:59,100
♪ (I know who I am) 
I am breathing the fire 
of my soul ♪

290
00:26:59,200 --> 00:27:01,433
♪ I can feel the fire 
in my soul ♪

291
00:27:01,533 --> 00:27:03,533
♪ I can feel the fire 
in my soul ♪

292
00:27:03,633 --> 00:27:05,566
♪ I can feel the fire 
in my soul ♪

293
00:27:05,666 --> 00:27:07,666
♪ I can feel the fire 
in my soul ♪

294
00:27:07,766 --> 00:27:09,633
♪ I can feel the fire ♪

295
00:27:09,733 --> 00:27:12,233
♪ Look around 
and you will see it 
(You will see) ♪

296
00:27:12,333 --> 00:27:14,733
♪ Look around 
and you will find it 
(Look around) ♪

297
00:27:14,833 --> 00:27:20,466
♪ The time has come 
for you to see ♪

298
00:27:20,566 --> 00:27:24,866
♪ We are the voices 
and we will be heard ♪

299
00:27:24,966 --> 00:27:29,266
♪ Finding a voice 
that will free us ♪

300
00:27:29,366 --> 00:27:32,766
♪ We are the voices 
and we will be heard ♪

301
00:27:32,866 --> 00:27:37,766
♪ As we finally see now ♪

302
00:27:37,866 --> 00:27:42,766
♪ We are the voices 
who will be heard finally ♪

303
00:27:42,866 --> 00:27:47,633
♪ We are now the voices ♪ 
♪ We are now the voices ♪

304
00:27:47,733 --> 00:27:49,933
♪ We are voices finding out ♪

305
00:27:50,033 --> 00:27:52,900
♪ That we have what we need 
right in our hearts ♪

306
00:27:53,000 --> 00:27:56,366
♪ Now is the time to believe 
(Hearts) ♪

307
00:27:56,466 --> 00:27:57,866
♪ We are heard ♪

308
00:28:00,200 --> 00:28:02,266
- Michael Dease: 
So in virtual learning,

309
00:28:02,366 --> 00:28:04,266
through online platforms,

310
00:28:04,366 --> 00:28:07,833
we often think about the 
challenges.

311
00:28:07,933 --> 00:28:11,266
There's not the in-person vibe 
and ambience.

312
00:28:11,366 --> 00:28:16,700
You don't get to hear 
a natural, authentic-type sound,

313
00:28:16,800 --> 00:28:19,100
but there's a lot 
of benefits too.

314
00:28:19,200 --> 00:28:21,533
We don't talk about those as 
much, and I think we should.

315
00:28:21,633 --> 00:28:24,266
One of them is that 
the online platforms

316
00:28:24,366 --> 00:28:27,566
let us share content 
immediately.

317
00:28:27,666 --> 00:28:29,366
So you can hear 
what's on the computer;

318
00:28:29,466 --> 00:28:31,133
you don't have to wait.

319
00:28:31,233 --> 00:28:33,500
If a playlist is made,

320
00:28:33,600 --> 00:28:36,333
everything is coming 
right at the student right away

321
00:28:36,433 --> 00:28:40,500
and you're immediately immersed 
in the art.

322
00:28:40,600 --> 00:28:43,900
And that's something that, 
as we did our master classes,

323
00:28:44,000 --> 00:28:47,733
we could play, we could share 
video, we could share audio,

324
00:28:47,833 --> 00:28:49,233
we could write comments,

325
00:28:49,333 --> 00:28:52,033
everybody's notes were 
immediately transferred

326
00:28:52,133 --> 00:28:55,966
to each other, 
so in those ways,

327
00:28:56,066 --> 00:28:59,300
the information 
is starting to be

328
00:28:59,400 --> 00:29:01,666
at your fingertips, literally.

329
00:29:01,766 --> 00:29:04,533
Whenever you want, however 
you want, you can replay it,

330
00:29:04,633 --> 00:29:06,400
you can record your classes,

331
00:29:06,500 --> 00:29:10,066
and in this way I think 
online learning is special

332
00:29:10,166 --> 00:29:13,766
and unique in a way that is very 
beneficial to us all.

333
00:29:23,266 --> 00:29:26,266
["Three Blind Mice" 
by Sara Jacovino]

334
00:29:27,766 --> 00:29:30,766
[lively jazz music]

335
00:30:27,766 --> 00:30:30,766
♪ ♪

336
00:31:27,833 --> 00:31:30,833
[trumpet solo]

337
00:32:27,900 --> 00:32:30,900
["Three Blind Mice" 
by Sara Jacovino]

338
00:33:04,966 --> 00:33:07,966
[trombone solo]

339
00:34:05,033 --> 00:34:08,033
♪ ♪

340
00:35:05,100 --> 00:35:08,100
["Three Blind Mice" 
by Sara Jacovino]

341
00:35:24,833 --> 00:35:28,833
[blaring ending]

342
00:35:41,433 --> 00:35:44,433
["Groove's Grove" 
by Steve Davis]

343
00:35:46,900 --> 00:35:49,900
[swanky jazz music]

344
00:36:46,966 --> 00:36:49,966
♪ ♪

345
00:36:51,133 --> 00:36:54,133
[saxophone solo]

346
00:37:15,566 --> 00:37:18,566
[trombone solo]

347
00:37:41,466 --> 00:37:44,466
[saxophone solo]

348
00:38:04,333 --> 00:38:07,333
[trombone solo]

349
00:38:27,633 --> 00:38:30,633
[saxophone solo]

350
00:38:51,300 --> 00:38:54,300
[saxophone solo]

351
00:39:16,366 --> 00:39:19,366
[trumpet solo]

352
00:39:47,633 --> 00:39:50,633
[bass solo]

353
00:40:47,633 --> 00:40:50,633
♪ ♪

354
00:41:47,700 --> 00:41:50,700
["Groove's Grove" 
by Steve Davis]

355
00:42:45,133 --> 00:42:47,800
[ending note]

356
00:42:56,066 --> 00:42:57,966
- Lauren Fowler-Calisto: I think 
what surprised me the most

357
00:42:58,066 --> 00:43:03,100
is that we were able to find 
this really common, strong bond.

358
00:43:03,200 --> 00:43:06,933
We had been so hungry 
for creating choral music

359
00:43:07,033 --> 00:43:11,400
in an ensemble environment 
ever since the COVID shutdown

360
00:43:11,500 --> 00:43:14,800
that we didn't realize 
how much we needed each other

361
00:43:14,900 --> 00:43:17,633
as musicians and 
as human beings.

362
00:43:17,733 --> 00:43:19,833
And I think for that reason

363
00:43:19,933 --> 00:43:23,800
it really created 
an extraordinarily strong bond

364
00:43:23,900 --> 00:43:29,233
between us: the staff, 
the students, and myself.

365
00:43:29,333 --> 00:43:32,033
I think that even 
I was surprised

366
00:43:32,133 --> 00:43:34,500
by how closely we all related

367
00:43:34,600 --> 00:43:38,233
and how much we were able 
to find each other

368
00:43:38,333 --> 00:43:40,866
in this really beautiful space,

369
00:43:40,966 --> 00:43:42,800
and I'm not quite sure 
how that happened.

370
00:43:42,900 --> 00:43:44,400
I think it was a combination

371
00:43:44,500 --> 00:43:47,766
of working with three very 
different composers

372
00:43:47,866 --> 00:43:49,566
and having them talk with us

373
00:43:49,666 --> 00:43:52,433
so that we were able to dive 
so much deeper into the text

374
00:43:52,533 --> 00:43:55,300
than we would in a normal 
choral environment.

375
00:43:55,400 --> 00:43:57,833
And I think it was also the fact 
that Jake Runestad,

376
00:43:57,933 --> 00:44:00,566
the composer of 
"We Can Mend the Sky"

377
00:44:00,666 --> 00:44:04,300
was able to work with us 
and find this beautiful space

378
00:44:04,400 --> 00:44:07,000
where we were talking 
about the reason

379
00:44:07,100 --> 00:44:10,766
that he created 
this particular composition

380
00:44:10,866 --> 00:44:14,300
and talking about the plight 
of refugees in America

381
00:44:14,400 --> 00:44:19,733
and the words, and through 
this diving deep into the text,

382
00:44:19,833 --> 00:44:23,566
we all were able to find 
a way to connect

383
00:44:23,666 --> 00:44:26,900
that I didn't think any of us 
were aware of

384
00:44:27,000 --> 00:44:28,866
and that we had really 
been missing

385
00:44:28,966 --> 00:44:30,966
while we were in lockdown.

386
00:44:31,066 --> 00:44:33,133
And frankly, by the time 
that we were done

387
00:44:33,233 --> 00:44:35,433
with the last run-through 
of "We Can Mend the Sky,"

388
00:44:35,533 --> 00:44:37,466
we could actually hear 
each other sing

389
00:44:37,566 --> 00:44:39,966
even though none of us could 
hear each other sing.

390
00:44:40,066 --> 00:44:41,700
It was so beautiful,

391
00:44:41,800 --> 00:44:45,033
and I don't think I'll 
ever forget, at the very end

392
00:44:45,133 --> 00:44:47,233
when we finished 
"We Can Mend the Sky,"

393
00:44:47,333 --> 00:44:50,066
and everybody in the choir 
just lifted up their hands

394
00:44:50,166 --> 00:44:52,300
and did a beautiful heart.

395
00:44:52,400 --> 00:44:54,700
And I had to turn off my camera 
for a minute

396
00:44:54,800 --> 00:44:57,433
because it just made me 
so emotional.

397
00:44:57,533 --> 00:45:00,733
As I'm getting right now, 
so it was pretty amazing.

398
00:45:02,633 --> 00:45:05,700
["Dúlamán" by David Mooney]

399
00:45:05,800 --> 00:45:08,100
[percussion]

400
00:45:08,200 --> 00:45:11,600
♪ O dülamán na binne bui, 
dülamán a' tsleibhe 
(O thulamawn na binya bwee, 
thulamawn a tlayve) ♪

401
00:45:11,700 --> 00:45:13,733
♪ Dülamán farraige, 
dülamán farraige 
(Thulamawn farrige, 
thulamawn farrige) ♪

402
00:45:13,833 --> 00:45:15,933
♪ Dülamán, dülamán, 
dülamán, dülamán 
(Thulamawn, thulamawn, 
thulamawn, thulamawn) ♪

403
00:45:16,033 --> 00:45:19,033
♪ O dülamán na farraige 
is dülamán a' déidigh 
(thulamawn na farrige 
iss thulamawn a jethy) ♪

404
00:45:19,133 --> 00:45:22,433
♪ dülamán farraige 
dülamán farraige 
dülamán dülamán 
dülamán dülamán ♪

405
00:45:22,533 --> 00:45:25,866
♪ O dülamán na binne bui, 
dülamán Gaelach (Thulamawn na 
binya bwee thulamawn Gayluck) ♪

406
00:45:25,966 --> 00:45:29,366
♪ Dülamán farraige, 
bhfearr a bhi in Eirinn! 
(Thulamawn farrige, 
bar a vee in Airinn!) ♪

407
00:45:29,466 --> 00:45:32,766
♪ O chuir mé scéala chuici 
go gceanóinn cíor dí 
(O kur may shkayla hicky 
go gyanowínn keer thee) ♪

408
00:45:32,866 --> 00:45:36,266
♪ 'S é'n scéal a chuir chugham 
go raibh a ceann cíortha 
(Shane Skayle a kur she hugum 
go row a kyaun keer ha) ♪

409
00:45:36,366 --> 00:45:39,633
♪ O dülamán na binne bui, 
dülamán Gaelach 
(Thulamawn na binya bwee, 
thulamawn Gayluck) ♪

410
00:45:39,733 --> 00:45:43,066
♪ Dülamán farraige, 
bhfearr a bhi in Eirinn! 
(Thulamawn farrige, 
bar a vee in Airinn!) ♪

411
00:45:43,166 --> 00:45:45,066
♪ La la la la la 
(Ah) ♪

412
00:45:45,166 --> 00:45:46,700
♪ La la la la la 
(Ah) ♪

413
00:45:46,800 --> 00:45:47,900
♪ La la la la la 
(Ah) ♪

414
00:45:48,000 --> 00:45:50,066
♪ La la la la la 
(Ah) ♪

415
00:45:50,166 --> 00:45:53,233
♪ 0 chuir mé scéala chuici 
go gceanóinn bád dí 
(O kur may shkayla hicky 
go gyan owinn keer thee) ♪

416
00:45:53,333 --> 00:45:56,600
♪ 'S é'n scéal a chuir sí 
chugham nach suífeadh sí '‘gceann 
rámha (Shane skayle a kur she 
hug um go row a kyaun keer ha) ♪

417
00:45:56,700 --> 00:46:00,066
♪ O dülamán na binne bui, 
dülamán Gaelach 
(Thulamawn na binya bwee, 
thulamawn Gayluck) ♪

418
00:46:00,166 --> 00:46:03,500
♪ Dülamán farraige, 
bhfearr a bhi in Eirinn! 
(Thulamawn farrige, 
bar a vee in Airinn!) ♪

419
00:46:03,600 --> 00:46:08,933
♪ Ah ♪

420
00:46:09,033 --> 00:46:13,966
[descending] ♪ Ah ♪

421
00:46:14,066 --> 00:46:17,233
♪ 0 chuir mé scéala chuici 
go gceanóinn long dí 
(O kur may shkayla hicky 
go gyanowinn lung thee) ♪

422
00:46:17,333 --> 00:46:20,800
♪'S é'n scéal a chuir sí chugham 
nach rachadh sí i gcontúirt 
(Shane shkale a kur she hugum 
knock rocka she i gunthoorch) ♪

423
00:46:20,900 --> 00:46:24,133
♪ O dülamán na binne bui, 
dülamán Gaelach 
(Thulamawn na binya bwee, 
thulamawn Gayluck) ♪

424
00:46:24,233 --> 00:46:27,466
♪ Dülamán farraige, 
bhfearr a bhi in Eirinn! 
(Thulamawn farrige, 
bar a vee in Airinn!) ♪

425
00:46:27,566 --> 00:46:30,866
♪ Ta ceann buí óir 
ar a' dúiamán Gaelach 
(Thaw keown bwee ore 
err a thulamawn Gayluck) ♪

426
00:46:30,966 --> 00:46:34,666
Tá dhá chluais mhaol' ar a' 
dúlamán Maorach (Thaw gaw kloosh 
wail err a thulamawn Mwayrock)

427
00:46:34,766 --> 00:46:37,866
♪ O dülamán na binne bui, 
dülamán Gaelach 
(Thulamawn na binya bwee, 
thulamawn Gayluck) ♪

428
00:46:37,966 --> 00:46:41,066
♪ Dülamán farraige, 
bhfearr a bhi in Eirinn! 
(Thulamawn farrige, 
bar a vee in Airinn!) ♪

429
00:46:41,166 --> 00:46:42,900
♪ La la la la 
(Ah la la la la la) ♪

430
00:46:43,000 --> 00:46:45,000
♪ La la la la 
(Ah la la la la la) ♪

431
00:46:45,100 --> 00:46:46,466
♪ La la la la 
(Ah la la la la la) ♪

432
00:46:46,566 --> 00:46:48,866
♪ La la la la 
(Ah la la la la la) ♪

433
00:46:48,966 --> 00:46:51,633
♪ Ta bróga breátha dubha 
ar a' dúlaman Gaelach 
(Thaw brogabraha thooha 
err a thulamawn Gayluck) ♪

434
00:46:51,733 --> 00:46:55,166
♪ Ta bairéad agus triús 
ar a' dúlamán Gaelach 
(Thaw baraytheawgus throosh 
err a thulamawn Gayluck) ♪

435
00:46:55,266 --> 00:46:58,533
♪ O dülamán na binne bui, 
dülamán Gaelach 
(Thulamawn na binya bwee, 
thulamawn Gayluck) ♪

436
00:46:58,633 --> 00:47:01,700
♪ Dülamán farraige, 
bhfearr a bhi in Eirinn! 
(Thulamawn farrige, 
bar a vee in Airinn!) ♪

437
00:47:01,800 --> 00:47:07,300
♪ Aw ♪

438
00:47:07,400 --> 00:47:12,633
[descending] ♪ aw ♪

439
00:47:12,733 --> 00:47:14,766
♪ La la la la la la la la 
la la la ♪

440
00:47:14,866 --> 00:47:16,800
♪ La la la la la la la la 
la la la ♪

441
00:47:16,900 --> 00:47:19,833
♪ La la la la la la la la 
la la la la la la ♪

442
00:47:19,933 --> 00:47:22,633
♪ La la la la la 
(Ah) ♪

443
00:47:22,733 --> 00:47:27,733
♪ La la la la la la la la 
la la la ♪

444
00:47:33,400 --> 00:47:35,400
["Ego sum panis vivus" 
by Blaz Strmole]

445
00:47:37,333 --> 00:47:46,500
♪ Ego sum panis vivus ♪

446
00:47:46,600 --> 00:47:53,400
♪ qui de caelo di descendi 
(qui de caelo di descendi) ♪

447
00:47:53,500 --> 00:47:56,533
♪ descendi 
(descendi) ♪

448
00:47:56,633 --> 00:48:00,600
♪ descendi (descendi) ♪

449
00:48:00,700 --> 00:48:10,233
♪ descendi 
(descendi) ♪

450
00:48:12,566 --> 00:48:18,600
♪ Si quis mandu caverit ♪

451
00:48:18,700 --> 00:48:24,200
♪ si quis 
mandu caverit ♪

452
00:48:24,300 --> 00:48:29,633
♪ si quis mandu caverit ♪

453
00:48:29,733 --> 00:48:39,700
♪ ex hoc pane ♪

454
00:48:43,066 --> 00:48:45,133
♪ Vivet vivet ♪

455
00:48:45,233 --> 00:48:47,500
♪ vivet 
vivet ♪

456
00:48:47,600 --> 00:48:49,666
♪ vivet vivet ♪

457
00:48:49,766 --> 00:48:51,866
♪ vivet 
vivet ♪

458
00:48:51,966 --> 00:48:54,433
♪ vivet vivet ♪

459
00:48:54,533 --> 00:49:00,700
♪ vivet ♪

460
00:49:04,566 --> 00:49:08,200
♪ Ego sum panis vivus ♪

461
00:49:08,300 --> 00:49:11,066
♪ vivus 
(Ego sum panis vivus) ♪

462
00:49:11,166 --> 00:49:14,533
♪ vivet vivet 
(Ego sum panis vivus) ♪

463
00:49:14,633 --> 00:49:17,333
♪ vivet vivet 
(vivus) ♪

464
00:49:17,433 --> 00:49:20,766
♪ vivet vivet ♪

465
00:49:20,866 --> 00:49:23,733
♪ in aeternum 
(in aeternum) ♪

466
00:49:23,833 --> 00:49:26,400
♪ vivet vivet ♪

467
00:49:26,500 --> 00:49:29,500
♪ vivet vivet 
(vivet vivet) ♪

468
00:49:29,600 --> 00:49:32,333
♪ vivet vivet (vivet vivet) ♪

469
00:49:32,433 --> 00:49:35,766
♪ vivet 
(in aeternum) ♪

470
00:49:35,866 --> 00:49:46,300
♪ in aeternum 
(in aeternum) ♪

471
00:49:50,966 --> 00:49:59,166
♪ Amen 
(amen) ♪

472
00:49:59,266 --> 00:50:13,300
♪ Amen (amen) ♪

473
00:50:13,400 --> 00:50:15,400
[silence]

474
00:50:45,000 --> 00:50:46,833
["Mend the Sky" 
by Jake Runestad]

475
00:50:46,933 --> 00:50:49,733
♪ In my dream I saw ♪

476
00:50:49,833 --> 00:50:51,500
♪ A world free of ♪

477
00:50:51,600 --> 00:50:56,666
♪ Violence hunger suffering ♪

478
00:50:56,766 --> 00:50:58,800
♪ A world filled with love ♪

479
00:51:04,100 --> 00:51:06,033
♪ Now awake this world ♪

480
00:51:06,133 --> 00:51:09,700
♪ I beg, 
let my dream come true ♪

481
00:51:09,800 --> 00:51:11,833
[guttural chanting in Somali] 
Soo baxa (Let's go)

482
00:51:11,933 --> 00:51:15,233
Naftu orod bay kugu aamintaa 
(To save your life, 
run with all your might)

483
00:51:15,333 --> 00:51:17,633
♪ If we come together ♪

484
00:51:17,733 --> 00:51:20,466
♪ We can mend 
a crack in the sky ♪

485
00:51:31,433 --> 00:51:40,633
♪ If we come together ♪

486
00:51:40,733 --> 00:51:50,033
♪ We can mend 
a crack in the sky ♪

487
00:51:50,133 --> 00:51:55,533
♪ Oo Oo ♪

488
00:51:55,633 --> 00:52:03,333
♪ If we come together ♪

489
00:52:03,433 --> 00:52:13,300
♪ We can mend 
a crack in the sky ♪

490
00:52:13,400 --> 00:52:14,766
♪ Oo ♪

491
00:52:14,866 --> 00:52:18,600
♪ If we come together ♪

492
00:52:18,700 --> 00:52:24,766
♪ Come together ♪

493
00:52:24,866 --> 00:52:26,266
♪ Oo ♪

494
00:52:26,366 --> 00:52:30,333
♪ We can mend ♪

495
00:52:30,433 --> 00:52:35,066
♪ We can mend ♪

496
00:52:35,166 --> 00:52:37,600
♪ Oo ♪

497
00:52:37,700 --> 00:52:47,466
♪ A crack in the sky ♪

498
00:52:47,566 --> 00:52:52,333
♪ Oo ♪

499
00:52:52,433 --> 00:52:56,900
♪ If we come together ♪

500
00:52:57,000 --> 00:53:02,200
♪ We can mend 
a crack in the sky ♪

501
00:53:02,300 --> 00:53:04,133
♪ Oo ♪

502
00:53:04,233 --> 00:53:07,366
♪ If we come together ♪

503
00:53:07,466 --> 00:53:13,300
♪ Come together ♪

504
00:53:13,400 --> 00:53:17,700
[percussion] 
♪ We can mend ♪

505
00:53:17,800 --> 00:53:21,933
♪ We can mend ♪

506
00:53:22,033 --> 00:53:25,066
[tempo and volume accelerating] 
♪ If we come together ♪

507
00:53:25,166 --> 00:53:26,733
♪ We can mend ♪

508
00:53:26,833 --> 00:53:29,633
♪ We can mend ♪

509
00:53:29,733 --> 00:53:34,333
♪ A crack in the sky 
(If we come together) ♪

510
00:53:34,433 --> 00:53:38,033
♪ We can mend 
a crack in the sky ♪

511
00:53:38,133 --> 00:53:42,433
♪ If we come together ♪

512
00:53:42,533 --> 00:53:44,333
♪ We can mend ♪

513
00:53:44,433 --> 00:53:46,400
♪ A crack in the sky ♪

514
00:53:46,500 --> 00:53:49,233
♪ If we come together ♪

515
00:53:49,333 --> 00:53:52,466
♪ We can mend 
a crack in the sky 
(improvised groove) ♪

516
00:53:52,566 --> 00:53:54,933
[vocalizing]

517
00:53:55,033 --> 00:53:59,400
♪ If we come together ♪

518
00:53:59,500 --> 00:54:03,100
♪ Come together ♪

519
00:54:03,200 --> 00:54:07,400
♪ If we come together ♪

520
00:54:07,500 --> 00:54:11,333
♪ A crack in the sky 
(If we come together) ♪

521
00:54:11,433 --> 00:54:16,200
♪ If we come together ♪

522
00:54:16,300 --> 00:54:21,300
♪ We can mend 
a crack in the sky ♪

523
00:54:21,400 --> 00:54:26,733
♪ If we come together ♪

524
00:54:26,833 --> 00:54:28,766
♪ We can mend ♪

525
00:54:28,866 --> 00:54:32,433
♪ A crack in the sky ♪

526
00:54:32,533 --> 00:54:40,300
♪ If we come together ♪

527
00:54:40,400 --> 00:54:42,966
♪ O ♪

528
00:54:43,066 --> 00:54:47,500
♪ We can mend ♪

529
00:54:47,600 --> 00:54:52,300
♪ O ♪

530
00:54:52,400 --> 00:54:58,566
♪ A crack in the... ♪

531
00:54:58,666 --> 00:55:05,400
♪ Sky ♪

532
00:55:22,600 --> 00:55:24,400
- Pamela Bustos: One 
of the things that I've done

533
00:55:24,500 --> 00:55:26,333
as a music educator

534
00:55:26,433 --> 00:55:29,833
from my beginnings 
of middle school band director,

535
00:55:29,933 --> 00:55:32,700
I always commissioned 
a lot of pieces.

536
00:55:32,800 --> 00:55:35,366
This piece wasn't 
commissioned by us

537
00:55:35,466 --> 00:55:37,533
but I've worked 
with this composer.

538
00:55:37,633 --> 00:55:40,600
But I also realized 
that my students

539
00:55:40,700 --> 00:55:44,166
needed to see the world 
beyond their communities

540
00:55:44,266 --> 00:55:49,166
and this piece 
allows them to engage

541
00:55:49,266 --> 00:55:52,033
with folk songs 
of another country

542
00:55:52,133 --> 00:55:56,666
and what those mean 
to that culture

543
00:55:56,766 --> 00:56:01,233
that they can take back 
to their own communities

544
00:56:01,333 --> 00:56:04,800
and begin to 
maybe think about

545
00:56:04,900 --> 00:56:07,400
the opportunities 
that lie for them

546
00:56:07,500 --> 00:56:09,866
to learn so much 
about humanity

547
00:56:09,966 --> 00:56:13,600
through music 
in from countries

548
00:56:13,700 --> 00:56:16,333
that they've never 
maybe even heard of.

549
00:56:18,566 --> 00:56:21,566
["Suite No. 2 for Band Mvts 3 & 
4" Victoriano Valencia Rincon]

550
00:56:29,233 --> 00:56:32,233
♪ ♪

551
00:57:29,300 --> 00:57:32,300
♪ ♪

552
00:58:29,366 --> 00:58:32,366
♪ ♪

553
00:59:29,433 --> 00:59:32,433
♪ ♪

554
01:00:29,433 --> 01:00:32,433
♪ ♪

555
01:01:29,500 --> 01:01:32,500
♪ ♪

556
01:02:29,566 --> 01:02:32,566
♪ ♪

557
01:03:29,633 --> 01:03:32,633
♪ ♪

558
01:04:16,433 --> 01:04:20,233
♪ [finale notes] ♪

559
01:04:24,466 --> 01:04:28,300
- Thank you for allowing 
your child to be part

560
01:04:28,400 --> 01:04:30,300
of this experience.

561
01:04:30,400 --> 01:04:31,600
Even though, again,

562
01:04:31,700 --> 01:04:33,933
we did not 
have the opportunity

563
01:04:34,033 --> 01:04:37,633
to have 
the shared room experience

564
01:04:37,733 --> 01:04:41,300
but it really shows again

565
01:04:41,400 --> 01:04:44,133
the importance of music 
in our lives

566
01:04:44,233 --> 01:04:46,000
and having 
the opportunity

567
01:04:46,100 --> 01:04:49,700
to experience music 
together,

568
01:04:49,800 --> 01:04:51,933
explore music together,

569
01:04:52,033 --> 01:04:54,466
and explore different ways

570
01:04:54,566 --> 01:04:57,066
how we can respond to it

571
01:04:57,166 --> 01:04:59,466
and allow ourselves 
to respond to it

572
01:04:59,566 --> 01:05:01,900
and therefore, 
be forever changed

573
01:05:02,000 --> 01:05:04,466
because we had 
the experiences.

574
01:05:04,566 --> 01:05:06,933
So, thank you.

575
01:05:07,033 --> 01:05:11,566
- I would share my most sincere 
and heartfelt thanks.

576
01:05:11,666 --> 01:05:13,666
It was-- not to be cliche, but--

577
01:05:13,766 --> 01:05:15,800
a wonderfully special 
opportunity.

578
01:05:15,900 --> 01:05:17,233
The connections that--

579
01:05:17,333 --> 01:05:19,200
Even though 
we were miles apart,

580
01:05:19,300 --> 01:05:21,533
we made 
some really genuine connections.

581
01:05:21,633 --> 01:05:22,766
We laughed.

582
01:05:22,866 --> 01:05:24,866
I almost cried several times.

583
01:05:24,966 --> 01:05:26,933
And we got to make 
great music--

584
01:05:27,033 --> 01:05:28,766
all in just 
a couple of days.

585
01:05:28,866 --> 01:05:30,866
I know it's an experience 
that I'm going to take with me

586
01:05:30,966 --> 01:05:32,966
throughout my career 
for the rest of my days,

587
01:05:33,066 --> 01:05:37,100
and I hope that 
the parents will, as well.

588
01:05:37,200 --> 01:05:43,466
- I hope that the parents 
are aware

589
01:05:43,566 --> 01:05:50,233
of how music plays into 
their children's development

590
01:05:50,333 --> 01:05:52,700
an appreciation

591
01:05:52,800 --> 01:05:58,500
and that they have 
these opportunities

592
01:05:58,600 --> 01:06:05,533
to grow beyond 
their school music programs

593
01:06:05,633 --> 01:06:12,166
and to see where they are 
amongst their colleagues.

594
01:06:12,266 --> 01:06:17,766
- Parents are so important 
to students' lives,

595
01:06:17,866 --> 01:06:19,100
and not just in music,

596
01:06:19,200 --> 01:06:21,800
but I'm going to 
talk about music right now

597
01:06:21,900 --> 01:06:25,166
because music is so important 
to all of us.

598
01:06:25,266 --> 01:06:26,566
I know for a fact that

599
01:06:26,666 --> 01:06:30,766
all of our ensemble directors 
and coaches and staff

600
01:06:30,866 --> 01:06:32,433
feel the same way.

601
01:06:32,533 --> 01:06:34,600
And it really begins at home.

602
01:06:34,700 --> 01:06:36,466
Students need help.

603
01:06:36,566 --> 01:06:37,700
They need guidance.

604
01:06:37,800 --> 01:06:39,033
They need support.

605
01:06:39,133 --> 01:06:40,633
They need financial support.

606
01:06:40,733 --> 01:06:43,800
They need 
mentorship and guidance.

607
01:06:43,900 --> 01:06:44,966
They need private lessons.

608
01:06:45,066 --> 01:06:46,233
They need good instruments.

609
01:06:46,333 --> 01:06:48,166
They need to go to band trips.

610
01:06:48,266 --> 01:06:49,466
They need 
to make recordings.

611
01:06:49,566 --> 01:06:50,633
They need to read music.

612
01:06:50,733 --> 01:06:52,466
They need to have 
a practice space.

613
01:06:52,566 --> 01:06:54,066
And they can't have 
any of that

614
01:06:54,166 --> 01:06:56,866
without support, mentorship, 
and guidance at home.

615
01:06:56,966 --> 01:06:58,300
That's where 
the parents come in.

616
01:06:58,400 --> 01:07:01,366
So, parents, we love you, 
we thank you.

617
01:07:01,466 --> 01:07:03,800
We're grateful for you 
on behalf of our students,

618
01:07:03,900 --> 01:07:06,066
and our students 
and your children are, too.

619
01:07:07,700 --> 01:07:10,700
- I think 
the most important thought

620
01:07:10,800 --> 01:07:13,300
that I want to impart 
to our students,

621
01:07:13,400 --> 01:07:16,400
their incredible parents, 
and our staff,

622
01:07:16,500 --> 01:07:18,400
is thank you.

623
01:07:18,500 --> 01:07:19,933
I'm just not sure

624
01:07:20,033 --> 01:07:22,600
any of us envisioned 
even a year ago

625
01:07:22,700 --> 01:07:24,300
that we would be 
in this kind of space

626
01:07:24,400 --> 01:07:26,600
where we would not 
be able to make music

627
01:07:26,700 --> 01:07:28,700
as a composite whole

628
01:07:28,800 --> 01:07:30,700
but instead using technology

629
01:07:30,800 --> 01:07:33,666
from all of our different 
individual spaces.

630
01:07:33,766 --> 01:07:36,833
I'm not quite sure 
if anybody understood

631
01:07:36,933 --> 01:07:39,566
how difficult a process 
this would be.

632
01:07:39,666 --> 01:07:41,100
But through that difficulty,

633
01:07:41,200 --> 01:07:45,733
we would come together in such 
a beautiful and amazing way.

634
01:07:45,833 --> 01:07:47,700
And so, we have 
all grown incredibly

635
01:07:47,800 --> 01:07:49,633
throughout this progress,

636
01:07:49,733 --> 01:07:51,933
but the process itself

637
01:07:52,033 --> 01:07:53,733
would not have happened 
without the support

638
01:07:53,833 --> 01:07:56,000
of those parents and students 
and staff

639
01:07:56,100 --> 01:07:58,333
who worked from their homes 
diligently.

640
01:07:58,433 --> 01:08:00,900
Many of them 
while still on summer vacation,

641
01:08:01,000 --> 01:08:02,866
out on campsites

642
01:08:02,966 --> 01:08:05,200
to make this work 
for all of us.

643
01:08:05,300 --> 01:08:07,466
And I think you'll be 
just as pleased as I am

644
01:08:07,566 --> 01:08:08,866
with the final product.

645
01:08:08,966 --> 01:08:10,033
But what's most important

646
01:08:10,133 --> 01:08:13,700
is that we came together 
in passion and love

647
01:08:13,800 --> 01:08:16,066
to create beautiful music.

648
01:08:16,166 --> 01:08:17,933
Even though 
we were still separate,

649
01:08:18,033 --> 01:08:19,333
we were still one.